A group of people sitting together smiling in front of a wool textile set on a table.

Woven in Wool curatorial team. Seated, left to right: Chepximiya Siyam’ Chief Janice George, Tillie Jones, Buddy Joseph. Standing, left to right: Siseenaxalt Gail White Eagle, Bethany Palkovitz, Katie Bunn-Marcuse, Kelly Robinson, sa’hLa mitSa Susan Pavel, Bridget Johnson, Olive Keilholtz, Michelle Cohen, Roxanne Hockett, Rose Mathison, Ashley Verplank McClelland. Salish blanket of mountain-goat wool in foreground. Burke Museum, Nov. 3, 2023. Photo Credit Burke Museum/Timothy Kenney.

Supported Projects

The Terra Foundation for American Art awarded 53 grants in spring 2024, totaling nearly $3.8 million of support for projects that broaden understandings of American art. Grants awarded include support for strategic initiatives, exhibitions, and Art Design Chicago. 

Supported projects include the Burke Museum’s exhibition Woven in Wool: The Rebirth of Traditional Coast Salish Regalia, the Institut Valencià d’Art Modern’s (IVAM) exhibition Senga Nengudi and Maren Hassinger, and the David C. Driskell Center at the University of Maryland’s project Writing the Future: Connecting and Supporting Black Archival Collections. 

A joint project of the Burke Museum and the Coast Salish Wool Weaving Center, Woven in Wool’s interpretive and curatorial approach empowers the voices and knowledge of Salish weavers, recognizing Native communities as the experts on their own history. Woven in Wool: The Rebirth of Traditional Coast Salish Regalia features traditional wool regalia common to the nineteenth-century Coast Salish peoples in the Pacific Northwest, an art form that had long been threatened with extinction until the late twentieth century. Featuring historical Salish wool regalia and new creations by contemporary weavers, the exhibition is focused on four main themes that follow the seasonal round of creation: materials, spinning, dividing, and weaving. Woven in Wool expands these themes in workshops and presentations to help tell the story of wool regalia and to convey the cultural and scientific knowledge needed to practice the artform.  

Co-curating weaver Chepximiya Siyam’ Chief Janice George (Squamish Nation) hopes the exhibition creates an environment where “we all can make a connection with weaving, with the earth, with where we are and feel that energy. If we open our minds and hearts, we can feel that energy. And then we can take care of this place a little bit better than we do. And I think that’s the important part . . .  it’s not separate. They’re all connected.” 

Image: Maren Hassinger, Ulysses Jenkins, Senga Nengudi and Franklin Parker, Flying, 1982/2014 (detail), 9 C-prints, Photographer: Adam Avila, Dimensions variable © Senga Nengudi, 2023, courtesy Sprüth Magers and Thomas Erben Gallery, New York.

The Institut Valencià D’art Modern’s exhibition Senga Nengudi and Maren Hassinger gives an overview of Nengudi’s and Hassinger’s practices.  

Curators Lucia Aspesi and Nuria Enguita of the exhibition said, “The show will give an in-depth overview of Senga Nengudi’s and Maren Hassinger’s practices, creating a project that aims to be many things at once: a significant tool to navigate the historical occurrences that interrogated representations and discourses around race, feminism, political action, art production, and art history in the American context; a performative tallying of the exchanges between the corpus of works by two artists that in the 1970s and ‘80s were operating in proximity to giant institutions; and an occasion to recognize a history that still has to be fully illuminated and discussed.” 

Over the next five years, the Terra Foundation for American Art will work in partnership with institutions based in the American South that are the stewards of American art collections that were either founded by or affiliated with the American Missionary Association (AMA), a nineteenth and twentieth-century antislavery and anti-caste organization. Writing the Future: Connecting and Supporting Black Archival Collections is part of a series of initiatives focusing on institutions with ties to the American Missionary Association. Over the next three years, Writing the Future: Connecting and Supporting Black Archival Collections will establish an institutional archive that documents the first 25 years of the Driskell Center’s institutional history. The Driskell Center has become a leader in expanding the field by collecting, documenting, and presenting Black art. 

Image, left to right: Benny Andrews, Margo Humphrey, and David C. Driskell at the Driskell Center, 2004. The David C. Driskell Papers, MS01. Courtesy of the Driskell Center at the University of Maryland, College Park.

Professor Jordana Saggese, Director of the Driskell C. Center for the Visual Arts and Culture of African Americans and the African Diaspora, said, “Since its establishment in 2001 at the University of Maryland, the Driskell Center has been a leading institution for studying and presenting the vital legacy of Black art. The project will allow us to tell the full story of the Driskell Center’s history; it’s secondary aim is to inventory and make accessible an incoming gift of papers from the collection of Terrie S. Rouse-Rosario—an accomplished arts administrator and executive with a career spanning over four decades. Both projects allow the Center to continue serving as an invaluable resource for scholars, students, and the wider community, ensuring that the narrative of Black art is documented and celebrated for generations to come.” 

For all foundation grants awarded, and for more information about these grants, please see the grants database. For information about the additional grants awarded in March 2024, please see the Art Design Chicago Grants Awarded story. 

Spring 2024 Grants Awarded

Strategic Initiatives

Center for Black European Studies, Carnegie Mellon University, Pittsburgh, Pennsylvania, to support “Water Holds Memory,” a four-day convening exploring the reception of the works of Calida Rawles and Torkwase Dyson by non-US Black diasporic artists and thinkers, $39,800 

Chicago Public Art Group, Chicago, Illinois, the Chicago Public Art Group (CPAG) seeks support to preserve one of the earliest CPAG murals still extant and one of the few monumental murals created for a labor union, $50,000 

College Art Association, New York, New York, CAA promotes the visual arts and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners, $25,000 

Contemporary And (C&), Berlin, Germany, to support a three-day workshop in New Orleans for emerging art writers addressing arts writing and reporting while focusing on Caribbean diasporic perspectives, $100,000 

Enrich Chicago, Chicago, IL, to support the research project, “Portrait of Inequity 2.0,” which is assessing progress toward racial equity in Chicago’s arts ecosystem over the last five years and identifying accountability standards for use by the arts sector, $55,000 

Grantmakers in the Arts, Bronx, New York, shaped by a local committee, the conference comprises four days of sessions as well as cultural programs and tours at cultural sites identified by the committee, $25,000 

National Association for Latino Arts and Cultures—NALAC, San Antonio, Texas, to support NALAC’s first regional workshop in Chicago, an event tailored to the needs and interests of area artists/administrators across disciplines but also designed to promote national connections, $25,000 

Norman Rockwell Museum, Stockbridge, Massachusetts, to support the reinterpretation of Norman Rockwell’s The Problem We All Live With, one of the most recognized and potent images of the modern civil rights movement, $50,000 

Park Avenue Armory, New York, New York, to support “The Radical Practice of Black Curation: A Symposium and Retreat,” jointly proposed by Tavia Nyong’o (Yale University) and Tina M. Campt (Princeton University) as part of Nyong’o’s curated series of public programs titled “Making Space at the Armory,” $25,000 

University of Maryland—David C. Driskell Center, College Park, Maryland, to support a three-year programming and publication project to establish an institutional archive documenting the first 25 years of the David C. Driskell Center’s history and legacy as the leading institution for the study and presentation of African American arts, $280,000 


Alaska Native Heritage Center, Anchorage, Alaska, The Nacheyakda’ina Exhibition Project (nacheyakda’ina means “our ancestors” in the Dena’ina Athabascan language) delves into themes such as the rich artistic traditions of Indigenous peoples throughout the state of Alaska, $75,000 

Art Galleries at Black Studies at The University of Texas at Austin, Austin, Texas, Transcendence: A Century of Black Queer Ecstasy explores representations of ecstasy in the work of Black queer artists from the Harlem Renaissance through today, $70,000 

Birmingham Museum of Art, Birmingham, Alabama, to support the first monographic exhibition of the work of Hayward Oubre, $150,000 

Brooklyn Museum, Brooklyn, New York, to support Elizabeth Catlett: A Revolutionary Black Artist and All that It Implies (working title), co-organized by the Brooklyn Museum and the National Gallery of Art, Washington, DC, $225,000 

Burke Museum Association, Seattle, Washington, to support Woven in Wool: The Rebirth of Traditional Coast Salish Regalia, a first-of-its-kind exhibition that embraces the power of wool regalia in all forms, $150,000 

Cooper Hewitt, Smithsonian Design Museum, New York, New York, Making Home: Smithsonian Design Triennial explores contemporary perspectives on the theme of home throughout the United States, its territories, and tribal nations, $100,000 

Crystal Bridges Museum of American Art, Bentonville, Arkansas, Knowing the West presents works by Indigenous artists from more than 35 distinct tribal nations and by non–Native artists in order to recontextualize historical artworks, $100,000 

El Museo del Barrio, New York, New York, Candida Alvarez: Circle, Point, Hoop is the artist’s first large-scale museum survey exhibition, examining her practice over a span of more than forty years and including works rarely or never before seen, $100,000 

Hirshhorn Museum and Sculpture Garden, Washington, District of Columbia, Adam Pendleton is a multidisciplinary exploration of the artist’s practice, in which he uses text and images to recontextualize histories of Blackness, abstraction, and the avant-garde, $100,000 

INSTITUT VALENCIA D’ART MODERN (IVAM), Valencia, Spain, Senga Nengudi and Maren Hassinger gives an in-depth overview of Nengudi’s and Hassinger’s practices, $50,000 

Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts,Vincent Valdez: Just a Dream… is the first-ever museum retrospective of the work of Houston- and Los Angeles–based artist Vincent Valdez, $125,000 

Memphis Brooks Museum of Art, Memphis, Tennessee, Andrea Morales: Roll Down Like Water—Photography and Movement Journalism in the American South is a solo exhibition of the Memphis-based Peruvian American documentary photographer Andrea Morales (b.1984), $125,000 

Michigan State University Museum, East Lansing, Michigan, “IT’S MORE THAN A QUILLBOX”/“Ooshme Gaawiyekaajigan aawon” is a bilingual (English and Anishinaabemowin) exhibition on Anishinaabe quillwork art at the Ziibiwing Center of Anishinabe Culture & Lifeways, $75,000 

Miriam and Ira D. Wallach Art Gallery, New York, New York, Shifting Shorelines: Art, Industry, and Ecology Along the Hudson River brings together historical and contemporary art, visual and material culture, and environmental science to engage in a critical dialogue about the art of the Hudson River, $50,000 

Portland Museum of Art, Portland, Maine, Jeremy Frey: Woven commemorates the artistic achievements of a celebrated Indigenous basket maker, $75,000 

Scottsdale Museum of Contemporary Art, Scottsdale, Arizona, opening at London’s Mimosa House and later at Scottsdale Museum of Contemporary Art, transfeminisms explores a multiplicity of urgent, pressing, and ongoing issues faced by women, queer, and trans people across the globe, $60,000 

Spencer Museum of Art, Lawrence, Kansas, STREET NIHONGA: The Art of Jimmy Tsutomu Mirikitani explores the art of painter and collagist Jimmy Tsutomu Mirikitani (1920–2012), $125,000 

The Cleveland Museum of Art, Cleveland, Ohio, to support Martin Puryear: Fifty Years, co-organized by the Cleveland Museum of Art and the Museum of Fine Arts, Boston, in collaboration with Martin Puryear, $200,000 

Westmoreland Museum of American Art, Greensburg, Pennsylvania, Anila Quayyum Agha: Interwoven surveys two decades of the artist’s practice across a variety of media, including sculpture, installation, embroidery, painting, and drawing, $75,000 

Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa, this survey of Vietnamese American artist Tuấn Andrew Nguyễn brings together films, installations, and sculptures made in the last two decades, $75,000 

Art Design Chicago Public Programs 

Art on Sedgwick, Chicago, Illinois, Art on Sedgwick’s public programming series “Intersections” explores migration, place, erasure, and other themes that are resonant in Chicago’s Near North Side Cabrini Green neighborhood, $42,100 

Arts + Public Life at the University of Chicago, Chicago, Illinois, “Never So Free: Black Queer Art + Assembly in Chicago” is a salon and program series that brings together a small intergenerational cohort of Black queer artists to research and develop projects about the rich history of queer Black arts spaces in Chicago, $43,000 

Comfort Station, Chicago, Illinois, Chicago-based artist Edra Soto crafts crafts an outdoor installation next to the cultural hub Comfort Station in the Logan Square neighborhood in northwest Chicago, $40,000 

Design Museum of Chicago, Chicago, Illinois, the third annual Chicago Sukkah Design Festival features design-literacy programming and pays tribute to the weeklong Jewish harvest holiday of Sukkot, $22,000 

Embarc, Chicago, Illinois, Embarc brings Chicago Public School high school students to various Art Design Chicago exhibitions to provide them with insights into Chicago’s rich art and design legacy and the city’s museums and galleries and to offer exposure to careers in the visual arts and design, $100,000 

Folded Map, Chicago, Illinois, the fourth Englewood Music Fest features a maker’s space known as the Arts Village, $50,000 

Hyde Park Art Center, Chicago, Illinois, Hyde Park Art Center (HPAC) on Chicago’s South Side is introducing the series “Let’s Talk About Art,” a five-week program offering the 65+ community an opportunity to safely learn together, celebrate, and discuss projects and exhibitions that are part of Art Design Chicago, $10,000 

Lawndale Pop-Up Spot, Chicago, Illinois, Lawndale Pop-Up Spot takes the lead in the community art installation segment of a multi-organization project, “Reimagining 16th Street,” intended to transform the 16th Street corridor in North Lawndale, $20,000 

Mobile Makers Chicago, Chicago, Illinois, Mobile Makers Chicago (MMC) organizes the “Strength in Community Pop-Up,” a mobile classroom initiative that actively involves youth ages 8–18 in design activities that foster discussions about space, place, belonging, and positive community change, $35,000 

My Block My Hood My City, Chicago, Illinois, to support “Downtown Day,” a daylong program that invites approximately one thousand youth (ages 13–22) to explore downtown commercial and cultural spaces and gain exposure to a variety of careers, $60,000 

OPEN Center for the Arts, Chicago, Illinois, to support “The Stories of One LAWNDALE” project, through which ten to twelve youths in the center’s Urban Film Course delve into the history and current landscape of the South and North Lawndale communities on the West Side of Chicago, $50,000 

Project Osmosis, Chicago, Illinois, to support “Design Explorers—Art Design Chicago 4.0,” a program that provides opportunities for high school students from communities underrepresented in the design fields to work with design and branding professionals and instructors who come from the same communities, $50,000 

Rivendell Theatre Ensemble, Chicago, Illinois, to support Tonika Johnson’s Folded Map project, a photography and video series that addresses the legacies of redlining and the inequity it created between the North and South Sides of the city, $46,650 

Sixty Inches From Center, Chicago, Illinois, Sixty Inches from Center is hosting the reimagined Chicago Archives + Artists Festival, a multi-day event that serves as a platform to promote awareness of cultural archives, $30,000 

The Newberry Library, Chicago, Illinois, The Newberry Library hosts three collaborative public programs that foreground overlooked and underappreciated aspects of contemporary arts in Chicago and strengthen relationships between the Newberry and stakeholders across Chicago’s contemporary art scene, $20,000 

The Richard H. Driehaus Museum, Chicago, Illinois, to support A Tale of Today: Materialities, an exhibition challenging conventional interpretations of the Gilded Age–era Nickerson Mansion by inviting a diverse group of contemporary artists to develop new work offering a critical response to materials used in its construction and decoration, $20,300 

Window to the World Communication, Chicago, Illinois, WTTW News produces and presents a series of eight to twelve digital stories about art and design in Chicago in conjunction with Art Design Chicago, $50,000 

Art Design Chicago Research & Learning Resources 

National Public Housing Museum, Chicago, Illinois, The Making of the National Public Housing Museum is a multiauthor publication that documents the process of developing a museum centered on the voices and experiences of some of our nation’s most marginalized communities, $25,000 

The School of the Art Institute of Chicago, Chicago, Illinois, to support “Chicago Designs: New Approaches to Teaching Social History and Design,” which introduces participants to design-related archives and collections across Chicago, $35,000 

Sixty Inches From Center, Chicago, Illinois, Sixty Inches From Center, in partnership with the Chicago Park District’s Arts & Culture Unit (ACU), produces a multi-author publication, Finding Ceremony, with art publisher For The Birds Trapped In Airports and editor Kamilah Rashied, $25,000 

University of Illinois at Urbana–Champaign, Champaign, Illinois, to support the publication Supergraphic Landscapes (Applied Research and Design Publishing), a collaboration between architect Joseph Altshuler and graphic designer Nekita Thomas, both public art practitioners and faculty at the University of Illinois at Urbana–Champaign, $20,000 

Urban Gateways, Chicago, Illinois, the youth-led webzine MILDSAUCE: The Art and Fashion Issue explores the question, “How Does Art Influence Fashion and Vice Versa?” and considers the impact of art and fashion on Chicago artists Nick Cave and the late Virgil Abloh, $25,000 

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